About the artist

Kelis describes her sixth album as “a kind of unspoken lovefest”, albeit one involving two unlikely partners. On the one hand, there is Kelis Rogers, who first came to prominence singing the hook of Ol’ Dirty Bastard’s 1999 hit Got Your Money; whose debut album Kaleidoscope helped usher in the wave of sharp, thrillingly futuristic r’n’b that dominated the charts in the early Noughties: as exemplified by her global hit, 2003’s Milkshake; whose last album was a pop-dance extravaganza featuring production from will.i.am and David Guetta. On the other, there was Dave Sitek, guitarist in acclaimed Brooklyn experimentalists TV On The Radio; producer by appointment to a certain kind of smart, arty indie band: the Yeah Yeah Yeahs, Foals, Liars. “It’s like we’re such different people,” says Kelis, “but I met him and he’s really just this brilliant, strange creature. I musically fell in love with him and I think he’s just a divine person. It’s ridiculous how much we speak the same language, musically and food-wise.”

Ah, food. As you may have gathered from the title, and indeed the tracks Jerk Ribs, Friday Fish Fry, Biscuits N’ Gravy and Cobbler, food has quite a large role to play in Kelis’ sixth album, and indeed her life. She is a qualified chef, who took a cordon bleu course in 2008, after a traumatic battle with her then-record label came to an end: “I’d been trying to get off the label for four years. It was all-out war. I was in combat mode. I’d fought them for years, then one Friday I got this call telling me they were finally releasing me from my contract. I was sitting in my kitchen, watching TV, an ad came on for culinary school and I was like, “yeah, I’m going” I started class Monday morning. A year and a half course, seven hours a day, five days a week and Saturdays and Sundays you’ve got to get on the line, ready to be hired in a restaurant.”

Despite her reservations about having to wear “a stupid hat and chef’s getup”, she loved it. She’s about to launch her own range of sauces in the US called Feast – “at school I realized sauce is my thing, I personally think everything is better either smothered or poured” – and there’s talk of a TV cookery series, for which she’s just filmed a pilot episode: “a lifestyle show, it’s my life, and there really is no separation for me between the food and the music.”

You can tell as much from her hugely, infectiously enthusiastic descriptions of the session at which Food was recorded. “First of all, it was recorded at Dave’s house, which is like two minutes from my house in L.A.: ideal because we’re both borderline hermits, so that worked out really nice,” she laughs. “So I’d get there, and he’d be like, “oh, are you hungry?” And I’m like “yes, what do you have?” and I’d go and look in his kitchen. He used to start playing stuff, sitting at the piano, in the living room, right next to the kitchen, and I’d start singing a melody to it, while I’m chopping something. So then I’m frying something or whatever, and he’s playing another melody and I’m like “I love that”, so he says he’s going to call Todd. Todd’s this ridiculously good trumpet player who comes over and does this stupid freakin’ beautiful horn arrangement. And the next thing you know, I’m cooking pies and there’s all these random musicians arriving, and it’s very calm and chilled, food’s being put on the table in the living room, another guy’s got an idea for a melody and I’m like, “I love that, it makes me think of this” and by the end of the night, we’ve got 11, 12 musicians there and everybody’s stuffed and the music is blaring, the songs are playing, it’s like a freaking zoo in there because he’s got three dogs and two Bengal cats, but it’s also like a freakin’ commune, because he’s got these girls staying there who are in this band CSS, so they’re from Brazil and now they’re cooking, they’re mixing micheladas…” Her voice trails off, happily. “It’s was great. No ego. They guys from TV On The Radio are there, and they’re working with me, and everyone is like: “I know who I am, I know who you are, I’ll do what I do and you’ll do what you do and we’ll do something that knocks everybody out in here.” And in the midst of that, we’ll eat.” She chuckles. “Literally every day, that’s what it was.”

Between mouthfuls, they devised an album entirely unlike anything Kelis has released before: a quick spin of the Simon And Garfunkel-esque ballad Bless The Telephone will underline that. It mints a sound that’s rootsy without ever being self-consciously retro, that pitches live horns and gospel-y organ against electronics, that for all its classic soul and funk influences, couldn’t have been made any time but now. “The one thing we did say at the beginning of this record is that whatever we do, we’re not copy cats” says Kelis. “The music I listen to and love, I can’t duplicate it, I would never try. I don’t want to make a copy of an old-school record. It doesn’t make any sense. It almost comes off as disrespectful to think that I could actually recreate what was already created masterfully. That was never my goal. But what I will say is that thinking about moments of my life growing up, I think about what my parents listened to, what was just playing around the block, in my neighbourhood – half of it I don’t remember, but I remember the essence of it, the smile that it provides. Dave’s wonderful at grabbing a moment as opposed to trying to recreate something that doesn’t need to be recreated. That’s what we wanted to do. It’s not about, “let me duplicate this record”. It’s like, hell, we did something because it was authentic and it was beautiful and it’s rich and it’s flawed and I love it.”

In a way, it shouldn’t come as a surprise that Kelis’ music has taken another unpredictable shift: she hasn’t exactly shied away from pushing at the boundaries of the public’s perception of her from the start (“do I think that record labels in the past have had trouble knowing what to do with me and being unable to pigeonhole me?” she ponders, “um, in short: yes”). Her then-record label thought her second album, Wanderland, was too experimental and eclectic to release in America, while she’s probably the only artist in history to take a David Guetta pop-rave track and turn it into a paen to the joys of new motherhood: Acappella, a song about the birth of her son Knight in 2009. This time, the results aren’t just unexpected, but highly personal.

Food is about more than just Kelis’ culinary passion, it’s an album about life, relationships and the uncertainty of that – “sure I’m self-sufficient, blah blah, independent,” she sings on Floyd, “truthfully I’ve got some space I want that man to fill it” - and ridding yourself of anger and bitterness as expressed on Change. I think it’s just about where I’m at right now, and what’s going on around me and wanting to make a record that… that I believe. That I can sit down on a stool and sing for a long time.”

Understandably, she thinks she’s succeeded. “Being as arrogant as I can be, no one on Food is new to this, no one there gives a crap, everybody is literally like, “I do this because I’m good at it, I love it and it’s a blessing, and if I can do this with you, then bring it, let’s do it.” It’s like, OK, we’ve all had big budgets, we’ve all done big studios, that’s nice and whatever, but I’m also like, “I’m great, I don’t need any of that, I’ll go on my own schedule.” It would be a waste of energy throwing money at it, because everyone is there is so well-seasoned. There’s not a second of insecurity, not a second of doubt. The reality is that we’re too talented, too old and too good for any of that.” She hoots with laughter. “Like I said,” she smiles, “that’s putting it as arrogantly as I can.”

Albums

Food is the sixth studio album by American recording artist Kelis, released on April 18, 2014, becoming her first album released under Ninja Tune Records. In 2007, Jive dropped Kelis, and she later signed to Interscope and will.i.am Music Group in 2009, through the label she released her fifth studio album, Flesh Tone, which saw Kelis experiment with a dance sound. In 2011 Kelis began work on the follow up to Flesh Tone, however she left Interscope and signed to Federal Prism, before officially signing to the British independent label Ninja Tune for the release of Food. Food is an R&B and soul album with a diverse musical style that incorporates funk, Afro-beat, Memphis soul, R&B and neo-soul. Its songs feature crackling horns, brass, earthy guitars, simmering electronics and vocals from Kelis that were noted as being breathy, smoky and sultry.The album was viewed as a return to Kelis' previous music prior to Flesh Tone, and was described by Kelis as, "a kind of unspoken lovefest". The album was written by Kelis, alongside David Andrew Sitek, and Todd Simon, and was entirely produced by Dave Sitek and features guest performances by CSS and Priscilla Ahn.

Flesh Tone is the fifth studio album by American singer-songwriter Kelis, released on May 14, 2010 by Interscope Records. Recorded while the singer was an unsigned artist and while pregnant with her first child, the record is an ode to motherhood and is a distinct departure from the R&B sound of her previous albums. The album features production from David Guetta, Boys Noize, Jean Baptiste, and Benny Benassi, amongst others.Flesh Tone is an electronic dance album that incorporates elements of house, synthpop, and dancehall. The record serves as Kelis' debut with Interscope Records under the will.i.am Music Group. Contemporary music critics praised the album for being cohesive as well as refreshing and lean. Flesh Tone spawned four singles, including "Acapella" and "4th of July", which became hits on the US Hot Dance Club Songs chart and the UK Dance Singles Chart.

Tasty is the third studio album by American singer Kelis. It was released on December 5, 2003, by Star Trak Entertainment and Arista Records. As executive producer, Kelis enlisted previous collaborators The Neptunes to produce the album, as well as new collaborators such as Raphael Saadiq, Dallas Austin, André 3000, Rockwilder, and Dame Blackmon "Grease". It also features guest vocals from Saadiq, André 3000, and then-boyfriend Nas.The album was met with positive reviews from critics, who praised its originality and viewed it as an improvement on Kelis' previous albums, Kaleidoscope and Wanderland. Tasty debuted at number 27 on the Billboard 200 with first-week sales of 93,600 copies, earning Kelis the best sales week of her career in the United States. The album also became her highest-peaking album in the United Kingdom, where it peaked at number 11 on the UK Albums Chart. It spawned four singles: "Milkshake", "Trick Me", "Millionaire", and "In Public".

Tasty is the third studio album by American singer Kelis, released on December 5, 2003 by Star Trak Entertainment and Arista Records. As executive producer, Kelis enlisted previous collaborators The Neptunes to produce the album, as well as new collaborators such as Raphael Saadiq, Dallas Austin, André 3000, Rockwilder, and Dame Blackmon "Grease". It also features guest vocals from Saadiq, André 3000, and then-boyfriend Nas.The album was met with positive reviews from critics, who praised its originality and viewed it as an improvement on Kelis' previous albums, Kaleidoscope and Wanderland. Tasty debuted at number 27 on the Billboard 200 with first-week sales of 93,600 copies, earning Kelis the best sales week of her career in the United States. The album also became her highest-peaking album in the United Kingdom, where it peaked at number 11 on the UK Albums Chart. It spawned four singles, including the international hits "Milkshake" and "Trick Me".

Kaleidoscope is the debut studio album by American singer Kelis. It was released on December 7, 1999, by Virgin Records. It was produced by The Neptunes. Despite underperforming in Kelis' home country, the album saw mild success in certain international markets, including the United Kingdom, where it charted at number 43 and was certified gold.

Live in London is a live album by American singer Kelis. It was released on November 24, 2014, by Concert Live and Ninja Tune. It is a recording of Kelis's concert at Somerset House in London on July 14, 2014.The album was streamed on The Guardian's website ahead of its release. Sam Bennett of Clash magazine gave the album a positive review, describing it as "an impressive performance from a singer still riding high", while April Clare Welsh of The Quietus wrote in contrast that "for all the show's heft as an epochal, history-making-moment-in-time, and Kelis as an incredible, inimitable and malleable performer, I guess you really had to have been there."

The Hits is the first greatest hits album by American singer-songwriter Kelis, released on March 1, 2008 by Jive Records and Legacy Recordings. It is Kelis' final release with both Jive and Virgin Records, before signing a recording contract with Interscope Records. The album contains no previously unreleased material.

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